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Marimba music doesn't get much heavier than the second half of this set. Even the light and simple movements such as Soldier's March and Wild Rider have a certain Germanic seriousness.
(New expanded twelve-movement edition) A delightful set of programmatic works that achieved standard repertoire status almost instantly when it was first transcribed 25 years ago.
Marimba Solo with Piano Concerto No. 2
Composed by David Gillingham
The Concerto for Marimba is a commission by a consortium of schools and performers headed by Professor Marc Wooldridge of Northwestern College, Orange City, Iowa.The work exploits the full range of the technical and expressive ability of the five-octave concert grand marimba. It is cast in the standard three-movement format. The first movement uses sonata-rondo form and begins with a slow introduction and quasi-cadenza by the marimba. An animated first theme follows in G-minor accompanied by clarinets and tambourine. A contrasting second theme area follows featuring chromatic mediant progressions and descending chromatic lines. The return of the first theme utilizes a slightly different accompaniment. The development section reworks all the thematic material in different guises. The recapitulation presents the first theme, verbatim, as it was in the exposition. The second theme, however, changes the mode to major. The return alternates the marimba on the theme with the winds playing the theme in augmentation. The marimba quietly ends the movement with an ascending and descending arpeggiated passage.The second movement is a chaconne with eight variations. The marimba states a rather haunting chorale-like melody in Bb minor. The first variation features the low brass on the chaconne theme with the marimba on the variation. Variation II uses marimba, clarinet, bells, and vibraphone and Variation III uses marimba, oboe, and horns. Cascading muted brass against the augmented chaconne theme in the flutes and clarinets are indicative of Variation IV. Variation V changes the slow pace to fast using marimba, brass, timpani, and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme accompanied by piano and bells. Variation VII features the low brass on the chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight Variation VIII along with a solo alto saxophone on the second half of the variation. A somber coda brings the movement to a close.The third movement, like the first, is in sonata-rondo design and is cyclic, bringing back and combining the thematic material of the first and second movements. The first theme, in D-minor, is angular and spirited, accompanied by clarinets and tambourine (reminiscent of Mvt. I). The second theme brings back the second theme of the first movement followed by the return of the first theme, now accompanied by saxophones and tambourine. The development combines and works thematic material from all three movements of the concerto. The recapitulation begins with the bassoons on the first theme, followed by the horns/trumpets and finally, the marimba. The second theme brings back the chaconne of the second movement, this time in major with the marimba accompanying using rhythmic material taken from the first theme of the third movement. There is no formal return of the first theme. Instead, the marimba plays a cadenza in which the first theme material and the second movement chaconne are developed. A galloping presto (coda) follows, ending the movement in D major.
Marimba Solo The Yuletide Marimbist
Arranged by Nathan Daughtrey
The Yuletide Marimbist was created to fill a void in Christmas literature for 4-mallet solo marimba. Spanning a wide range of styles, these arrangements are suitable for diverse performance venues – both sacred and secular. Only a 4 1/3-octave marimba is necessary, but cue notes are provided throughout for extended range if you have access to a 5-octave instrument. With one exception ("O Holy Night"), all of the arrangements are flexible in that they may be repeated one or more times by utilizing ending repeats or "D.S./D.C." indication. The book includes performance notes and mallet suggestions for each solo.
Marimba Solo Spiral Passages
Composed by Jon Metzger
Spiral Passages is one of the first pieces to successfully integrate several styles of music into one piece. Metzger's jazz background helps to infuse the improvisatory elements in the piece, while his keen sense of musical form and direction round out the classical side. The moods of the composition range from sweet to playful to angry to serene and back again. You can hear a recording on marimba artist Nathan Daughtrey's CD, "Spiral Passages" (also available from C. Alan).
Piece is on the UIL Prescribed Music List
Marimba Solo Extra Spices, Please!
Composed by Josh Gottry
Josh Gottry's first composition, Irrelevant for solo marimba, earned him an ASCAP Young Composer Competition grant in 1995. Since that time, he has been selected for numerous ASCAP Plus awards and has created over thirty published works that have been performed extensively at universities, junior high and high schools, and multiple national conferences. Mr. Gottry earned his BM in Percussion Performance at Northern Arizona University and his MM in Composition at Arizona State University and is currently an adjunct professor of music at Chandler-Gilbert Community College teaching percussion and composition as well as courses in music history and theory. Additionally, he maintains a private percussion studio and performs regularly throughout Arizona as a soloist and participant in various local ensembles. He is a member of the Percussive Arts Society, the American Society of Composers, Authors, & Publishers, and the Society of Composers, Inc. He is a clinician for Mike Balter Mallets, Pro-Mark Sticks, and Yamaha Percussion. Mr. Gottry served six terms as Vice President for the Arizona State Chapter of the Percussive Arts Society and is currently a member of the PAS Education and Composition committees. He has been published several times in Percussive Notes and presented a keyboard percussion clinic at PASIC 2007.
Marimba Solo Battle of Rising Spirits
Composed by Gus Burghdorf
An ethereal, but intense, rolled section opens the piece building to a dramatic climax. The ensuing allegro section has an ostinato in the left hand and double verticals in the right hand melody. Bursts of sixteenth notes flying up and down the instrument make this both fun and play and impressive to watch. The slow middle section employs independent rolls in both hands before returning to the allegro section and ending the same as the beginning, but in a major key.
Marimba Solo Ship Wrecked
This is an effective programmatic work in three movements: The Storm, Life, and The Dance. The first movement portrays the intensity of the storm with much dissonance and rhythmic excitement. The second movement is a four-part chorale set in C major. The third movement combines elements of the two preceding movements, but is ultimately in a more jovial state. Techniques employed include: double verticals, double laterals, single independents, single alternating and the use of mallet shafts on the bars.
Marimba Solo Dance of Redemption
Composed by David R. Gillingham
A medium, 4-mallet marimba solo for a 4.5 octave marimba
Marimba Solo Five Easy Two Mallet Pieces for Marimba Step-to-Step Series Book 1
2-mallet ~ Easy This is a wonderful collection of five sequential marimba solos by world-renowned jazz vibraphonist Jon Metzger. Each piece is based on a mode or scale common in everyday jazz performance. The scale/mode appears at the top of each piece so the student may learn it with the piece. Step-by-step instructions for approaching the pieces are printed in the front of the book, while optional piano vamps are included in the back of the book for improvisation purposes.
Marimba Solo Memory's Glimpse / Z'rondo
Composed by Ginger Zyskowski
Two short pieces for marimba. Memory's Glimpse represents some of Zyskowski's best 4-part chorale writing, with swells and interesting harmonies throughout. Z'rondo is a blazing fast "hoe-down" with an ostinato in the left hand and an off-beat melody in the right, creating a "boom-chick" effect. This theme alternates with other contrasting sections so that the rondo form (ABACA) shines through. Special effects include glissandi and playing with the shafts of the mallets on the bars. Great for a student early in four-mallet development.
Marimba Solo Mountain Paths
Composed by Nathan Daughtrey
This two-movement piece for marimba is meant to be used toward the beginning of a student's two-mallet education. An optional piano accompaniment is also provided, giving the student the opportunity to perform with an accompanist (foreshadowing concerto literature in the future). The first movement, To The Summit, is rolled and slowly meanders from the low end of the instrument to the upper end, when it reaches the climax (or "summit"). The second movement, Downward Spiral, is fast-paced with combinations of eighths and sixteenths and little syncopation. There is a brief recapitulation of the "summit" theme from the first movement before sliding down the remainder of the mountain.
Composed by George Frock
Frock explores several different sticking permutations in the first section of the piece, set completely in 4/4. The following section uses more syncopated rhythms and odd time signatures, such as 3/16 and 5/16. Before the recapitulation, a four-part chorale is interjected.
Marimba Solo 24 Caprices, Op. 1 No. 2 in B Minor
Adapted by Nathan Daughtrey
Paganini's 24 Caprices, Op.1 for solo violin are the most demanding in the repertoire. Each caprice highlights a particular violin technique, such as cross-string arpeggios in the first and whirlwind scales and arpeggios in the fifth caprice. The three selections in this transcription adapt extremely well to the marimba and, in turn, showcase many of the virtuosic four-mallet techniques found in contemporary marimba literature, such as close-interval sticking and arpeggios/scales involving all four mallets. You can hear a recording of the Caprices on Nathan Daughtrey's CD, "Spiral Passages" (also available from C. Alan).
In 4 movements: I) Saudação, (Greetings), II) Lamento (Lament), III) Dança (Dance), IV) Despedida (Farewell).
The most popular marimba concerto of all time. "The concerto is superbly written for the unique timbre and virtuoso technical qualities of the marimba." (Percussive Notes)
The Concerto for Marimba and Orchestra was written in June and July of 1986 in Brasília and is dedicated to the composer's son Marcelo. The work was originally written for marimba and string orchestra and was premiered in the USA the same year with the Manitowoc Symphony Orchestra in Wisconsin under the direction of Manuel Prestamo. With the commercial success of a 1990 CD and video by Scottish percussionist Evelyn Glennie and the London Symphony Orchestra, the Concerto rapidly came to be regarded as part of the standard literature for percussion. It is considered to be the most popular marimba concerto today, and has been performed by more than eight hundred orchestras worldwide.
The concerto contains four movements - unusual for the concerto form – which follow the fast-slow-fast pattern, with the medium tempo third movement inserted before the vigorous finale. Some Brazilian motifs and jazz elements are used throughout the piece, which contains strong rhythmic patterns and catchy melodies. The marimba leads the thematic material throughout much the piece, and as a result, the marimba part of certain movements can be performed solo, without orchestral accompaniment. The solo part explores the many possibilities of modern four-mallet technique, and according to reviews from Percussive Notes magazine "the concerto is superbly written for the unique timbre and virtuoso technical qualities of the marimba."
By Andrew Thomas, written for William Moersch, Merlin has become a standard Four Mallet Marimba Solo amongst percussionists.
Works for Marimba by Keiko Abe
55 Pages
Song List:
ANCIENT VASE LITTLE WINDOWS MEMORIES OF SEASHORE VARIATIONS ON JAPANESE CHILDREN'S SONGS WIND IN THE BAMBOO GROOVE
Marimba Solo - Words Unspoken Composed By Andy Harnsberger
Click the Link Below to Listen to the Piece
Instrumentation: Marimba 5 Octave
"Words Unspoken" is a four-mallet marimba solo for the experienced player. A five-octave marimba is needed to perform the work, and the performer must be proficient with double-vertical, single-independent strokes, single-alternating strokes, and one-handed rolls. Harnsberger employs one-handed rolls at the interval of unison and the octave. Additionally, the octave is the primary intervallic distance explored throughout. The composition is very malleable by use of rubato and descriptive markings such as "barbaric, savage" to encourage a musical performance. "Words Unspoken" will challenge the "musical soul" of each performer." - Lisa Rogers Percussive Notes, February 2005
Marimba Solo - Hymns of the Church Arranged By Blaine Locheed
Instrumentation: Marimba Low A (Optional Low F and C Parts)
Program Notes: Each piece in this collection came from the Trinity Hymnal, a favorite in Presbyterian churches. The songs were selected for their suitability for marimba, and for their textual content which is not reproduced here. Because space would prohibit the inclusion of the lyrics, I recommend doing a title search at cyberhymnal.org in order to gain an understanding of what the authors intend to communicate. You may find this helpful to keep in mind as you interpret each piece.
"Blaine Locheed has arranged 14 hymns from the Trinity Hymnal (used in the Presbyterian church) for four-mallet, unaccompanied, low-F marimba. Included are: "Away in a Manger," "Silent Night," "When I Survey the Wondrous Cross," "What a Friend They Have in Jesus," "Softly and Tenderly," "Spirit, Strength of All the Weak," "Fairest Lord Jesus," "Holy, Holy, Holy," "Jesus Lover of My Soul," "Eternal Father, Strong to Save," "They Have Not Known Thee as They Ought" and "When Peace Like a River." None of these arrangements present awkward challenges, but they will permit the skilled, lyrical marimbist to have the breadth of repertoire that can adapt to church situations. Several of these arrangements could be performed as a two or three-movement suite for secular recitals. There is careful editing regarding dynamic contrast and the suggested types of rolls that will create the best musical interpretation." - Jim Lambert Percussive Notes, October 2004
Marimba Solo - Etude for a Quiet Hall Composed By Christopher Deane
Instrumentation: Marimba
"Christopher Deane's Etude for a Quiet Hall was the 1st prize recipient of the 1982 PAS Composition Competition. Written for solo, unaccompanied marimba, this work uses subtly advanced, four-mallet technique throughout an extended slow introduction. The second section is more linear (melodically) with perpetual arpeggia-like figures. Suggested stickings are clearly marked. The only critical suggestion to this ABA structural work is to have occasional tempo markings - there are none. This four-page solo is printed on oversized 11" x 17" sheets which are not bound. This easily accommodates noiseless transitions from one page to another. Etude for a Quiet Hall is dedicated to J. Massie Johnson and is an effective addition to the advanced solo marimba repertoire." - James Lambert Percussive Notes, October 1983
Marimba Solo - The Process of Invention Composed By Christopher Deane
Instrumentation: Marimba Low A
Program Notes: The Process of Invention was written specifically for Mark Ford as a contrasting piece to Three Shells. The form is transparent in it's use of repetition. Utilizing the concept of "one thing leads to another", each left hand bass line is connected by shared beginnings and endings in juxtaposition with contrapuntal lines in the right hand. Augmetation and diminution of one musical line, while keeping it's counter line constant, serves as a development device.
Marimba Solo - Three Shells Composed By Christopher Deane
Instrumentation: Marimba 4 1/3 Octave
Program Notes: Three Shells creates an abstract narrative between the basic motivic materials. An echo like motive based on a tone row gives a sustaining quality to the marimba while the second element emerges as a traditional melody accompaniment figure. The third element is an interruptive motive based on the original row. Mark Ford performed the premier of Three Shells in 1993 and the work is dedicated to my sister Leslie, who's pen and ink drawing provided me with the title. The four mallets to be used when performing this work should be chosen with as rich a tone quality as is possible yet still having the capability to speak clearly in all registers and within a wide dynamic range.
"Three Shells is a work for solo marimba (a 4 1/3 octave instrument will suffice) that is probably already familiar to many serious marimbists. It has been available since 1992, the year it won second prize in the PAS composition competition, and can now be heard on Mark Ford's CD, Polaris. Three Shells is an excellent example of a composition that exploits a particular idiomatic technique used in the performance of an instrument--in this case, the execution of double lateral strokes, played simultaneously by both hands, and also alternated, hand-to-hand fashion. Of course, in the hands of a good composer, applications of a particular technical approach would be used only as a means to a musical end. This is the case with Deane's piece, which can certainly stand on its own musical merits. His use of the rapid, dependent rotary strokes sets up an interesting, kaleidoscopic effect, as right and left hands interact in various combinations. The repetitious motor rhythms set up by these interactions are broken up by contrasting slower, lyrical sections that utilize a rich harmonic palette. Any serious college marimbist, who has mastered the requisite techniques and spends the necessary time to learn this solo, should be amply rewarded for the effort." - John R. Raush Percussive Notes, April 1997
Marimba Solo - November Evening Composed By Christopher Norton
Instrumentation: Marimba Low F
Program Notes: Premiered by Christopher Norton on November 1, 1994 at Western Kentucky University. Two rhythmically charged themes open the piece and provide the melodic and harmonic material for the subsequent variations, thematic restatements, chorale and reprise. The form follows the scheme: A B A1 A B B1 A2 Chorale A A3 B2 B. The work bears a jazz influence which is particularly evident in three variations which resemble an improvised solo over the cord "changes" of the two primary themes. November Evening is dedicated to my wife, Leslie.
"This work for solo marimba has the character and vitality of dance music, resulting primarily from its syncopated rhythms and irregular meter. Interesting rhythmic devices include the juxtaposition of duplets in one hand and triplets in the other, and triplets set against quadruplets. The chordal fabric is interrupted with runs imparting the flavor of an improvised fill. The marimba writing is quite idiomatic, revealing the composer's familiarity with the instrument. It is refreshing to discover a work for solo marimba that so successfully fulfills a broad range of criteria, from those of marimbists who want a vehicle that spotlights their technical and musical talents, to those of the discriminating auditor who appreciates a work that can stand on its own musical merits, to those of the general public who enjoy music that is approachable and entertaining." - John R. Raush Percussive Notes, June 1997
Marimba Solo - Medal of Honor Composed By Gene Fambrough
Instrumentation: Marimba (5 Octave)
Medal of Honor was composed for and is dedicated to all war veterans. As the son of a Korean War veteran, certain things have come to move and inspire me lately, among them a recent visit to the nations capitol. This was my first opportunity to view the Korean War Memorial, and I found particular interest in the area known as the Pool of Remembrance. Additionally, I have always been awed and inspired by the Changing of the Guard ceremony at the Tomb of the Unknown Soldier in Arlington National Cemetery. I had been working on fragments of this work and found the needed inspiration to tie them together within this framework of ideas. The Prelude presents a haunting, ominous mood through the use of non-traditional harmonic motion and open fifth structures. Remembrance presents the key of B-flat minor, developed throughout the remainder of the work and explored more traditionally within ...of the Unknown. Although still in minor tonality, Celebration creates a joyous interpretation of the previous themes and a brief variation in major, concluding with a short Postlude. The five sections are played without pause.
Gene Fambrough dedicates this piece to all war veterans and found his inspiration for "Medal of Honor" from monuments in the Washington D.C. area. This solo requires a five octave marimba and lasts approximately 13 minutes. According to Fambrough's program notes: "The 'Prelude' presents a haunting, ominous mood through the use of non-traditional harmonic motion and open fifth structures. 'Remembrance' presents the key of B-flat minor, developed throughout the remainder of the work and explored more traditionally within '...of the Unknown.' Although still in minor tonality, 'Celebration' creates a joyous interpretation of the previous themes and a brief variation in major, concluding with a short 'Postlude.' The five sections are played without pause." This piece lays well on the marimba and should be very pleasing to performers and audiences. The contrast of the open fifths in the opening and tighter intervals in "Remembrance" help lead the piece into "...of the Unknown." This section reaffirms the primary melody stated over a slow quarter-note ostinato. This ostinato is continued with a sextuplet variation overlay and the melody singing through the texture. As the intensity increases, the intervals get larger and reach a peak at the "Celebration" with the use of octaves in both hands, a syncopated melody in the right hand, and permutations in the left. The piece dies away with flourishing sixteenth notes up and down the keyboard that outline the previous harmonic motion. The ending comes to a gentle close using material of "Remembrance." This piece would be well worth the effort for junior, senior or graduate recitals. Difficulties include the length, high demand of octave intervals, one-handed rolls in both hands, and overall depth of musical maturity needed to express the desired emotions. - Brian Zator Percussive Notes, April 2006
Marimba Solo - Night Songs Composed By Gene Fambrough
"Night Songs" is a two-movement, unaccompanied, four-mallet marimba solo that lasts approximately seven minutes. The first movement, "...until they meet again," is a chorale that uses unique, yet appealing progressions that move between the minor and major modes. The opening monophonic line is used in several instances to create different textures and unity within this movement. The second movement, "The inward eye," is based off of one sixteenth-note sticking pattern, 4312 3421. This sticking is used throughout the piece and helps spell out the chord progressions and melody line in mallet number 4. Syncopations, double stops in the right hand, and a brief chordal interlude help break the monotony of the permutations. The performer is required to play this sticking pattern using many different intervals. The piece comes to a calm ending using material from the first movement. - Brian Zator Percussive Notes, April 2006
Marimba Solo - Fantasia Edited By Harold Jones
Instrumentation: Marimba or Xylophone and Piano
Program Notes: In the winter of 1961 I toured the Soviet Union in the University of Michigan Band under William Revelli. The tour offered many memorable experiences. I had the opportunity to meet numerous Russian musicians. One presented me with 2 compositions, Scherzo Brilliante and Fantasia. Due to the absence of a translator, I was unsure who composed the pieces. Further attempts to find the composer have been unsuccessful. Over the years my students and myself have enjoyed these works. After numerous requests I have prepared the present edited versions of the pieces.
"Fantasia is a composition that retired East Carolina University professor Harold Jones discovered while touring in Russia while he was a student-performer in the University of Michigan Concert Band. Although the original composer is not known or mentioned in this publication, the work resembles that of late 19th century tonal compositions popular among virtuoso string or instrumental performers. This composition is a duet for xylophone or marimba and piano. The 269 measure, 6/8 fantasia is quite appropriate for the intermediate to advanced two-mallet performer at the undergraduate college level. The importance of the tightness of the ensemble between the percussionist and the pianist cannot be underestimated in this marvelous single-movement work." - Jim Lambert Percussive Notes, December 1999
Marimba Solo - Scherzo Brillante Edited By Harold Jones
"Scored for xylophone or marimba and piano accompaniment, this 142-measure, two-mallet solo was composed by an unknown Russian musician. This moderately difficult, tonal composition is challenging in that the performer's presentation is very transparent in its rapid, 6/8, scalar passages. There is a brief modulation to D major from the opening and closing G major sections, making this three-part, single-movement work very appropriate for the undergraduate recital presentation. Reminiscent of some of the older Musser keyboard/ piano solos, the piano accompaniment is very complementary to the solo keyboard presentation." - Jim Lambert Percussive Notes, October 1997
Marimba Solo - Quintessence Composed By Ian Grom
Program Notes: (kwin tes' ens), n. the pure and concentrated essence of a substance. Quintessence is an episodic work that utilizes the extrapolation of a single musical cell to create the impetus for the entire piece. It is above all a work meant to be organically self-perpetuating. In this piece, the note G could be considered the "primordial ooze" from which the first organism will emerge...a single-cell musical amoeba of sorts. This is comprimised of the first three notes presented in episide one: F, G and A-flat. This whole-step, half-step relationship extending out from G serves as the evolutionary starting point for the music. As in nature, variation and mutation give way to increasingly more diverse offspring as the work progresses through its five episodes.
"Quintessence," a ca. 10-minute marimba solo, is written for a low-A instrument and is described by the composer as "an episodic work that utilizes the extrapolation of a single musical cell to create the impetus for the entire piece." The three notes of this "cell" (F, G, Aflat) provide the whole-step/halfstep relationships that serve as the germinal ingredients for the composition. The piece is a tonal work set in five movements, or "episodes" as the composer refers to them, each offering its own stylistic features. The piece begins before a sound is actually heard, as the player hovers above the rolled G that initiates the opening episode, and "make(s) the rolling motion without actually hitting the bar until several seconds have gone by." The opening episode ("Emerge"), in chordal style with mildly dissonant harmonies, is followed by the contrapuntal setting of the second episode, "Remembering Mandeng." Here, the left hand plays an eighth-note ostinato pattern set against a simple melody in the right hand, which results in a rhythmically interesting counterpoint (e.g., the juxtaposition of three notes in the left hand against two in the right). The third episode, "Plight of the Birdies," features a melody embellished with grace notes and a technique idiomatic to marimba performance in which the melodic line is divided between right- and left-hand mallets in various rhythmic combinations. Episode IV ("The Savage Beast Unsoothed") uses a repetitive right-hand "drone," as the composer terms it (a repeated doublestop major second). The contrasting left-hand part sets up interesting rhythms, such as those resulting from the coordination of ascending left-hand octaves and the drone. The final episode ("Eventuality") returns to the chordal texture of the opening, using rolled four-note chords, and concludes simply with three unrolled double-stops, the last note repeating the G with which the work begins. Technical problems are eased by chords that are voiced to avoid large skips, step-wise movement between chord tones, and repetitious patterns, keeping the work within the capabilities of an average college mallet player. Throughout most of the episodes, rhythm is the most imaginative aspect, interjecting a prime ingredient in maintaining the listener's attention. The fact that the work features a variety of contrasting styles that can showcase a soloist's command of the marimba keyboard should help its popularity." - John R. Raush Percussive Notes, August 2004
